When Stranger Things came out in 2016, it was a cultural phenomenon. Critics raved about the horror/coming-of-age/SciFi series set in 80s small town Indiana, lauding the talent of its young actors such as Millie Bobby Brown and Finn Wolfhard, as well as the resurgence of Winona Ryder. It broke streaming records, saw millions dress in costumes and buy merchandise.
Flash forward nine years and the fifth series is due to come out. The response from a lot of people:
Who cares?
There are of course people who are looking forward to it. More people will probably watch it then we expect. Still, it doesn’t quite match the excitement that Stranger Things saw in 2016.
I have to ask: is this the end of our love affair with prestige TV?
What Is Prestige TV?
Prestige TV is a term for high-quality television usually available on streaming services as opposed to ordinary channels. They’re usually more expensive, of better quality, focus more on characters and story and enjoy big stars. Where TV used to be the death of an actor’s career, Oscar winners such as Meryl Streep and Robert DeNiro can now be seen on the small screen.
Early examples of prestige TV include The Wire and Mad Men. It then evolved into shows like Game of Thrones, Downton Abbey, Succession, The Crown and The Last of Us.
Platforms known for prestige TV include HBO, Netflix, Amazon Prime, Apple TV + and Disney +.
Problem One: Length Of Time Between Series/Seasons
As I said earlier, Stranger Things first came out in 2016. S2 came out in 2017, S3 in 2019, S4 in 2022 and S5 will come out in late 2025. Nearly nine years for five series in general, and three between the last two, is quite long. Of course, one has to factor in things like the pandemic and the SAG strikes, but it’s an awful long time. Most people will have forgotten what happened in the last episode by the time the next one has rolled around- and that includes me. Sure, we can rewatch or find a recap online, but humans have a short attention span. That length of time between TV shows is generally unacceptable to both the ardent fan and the casual viewer.
Millie Bobby Brown was twelve when the show started and is now a married woman. The actress who plays Erica is supposed to be twelve in the upcoming series, yet has graduated high school already. That gives you an idea of time scale.
The TV show in which this could be the biggest problem is Bridgerton. There are plans to adapt each of the eight books and considering there’s a gap of approximately two years between each series, this is how it’s probably going to look:
2020
2022
2024
2026
2028
2030
2032
2034
Considering the actress who plays the youngest sibling, Hyacinth, is eighteen, there’s a chance she might age out of the role by the time it’s her season- and there are already time jumps involved. Can Netflix ensure that everyone but the most devoted fans stay loyal until 2034- or even longer if something stops production? After all, Bridgerton is not a show that involves a lot of CGI. As its stars become more popular — note the success of Jonathan Bailey, Nicola Coughlan and Simone Ashley among others, can they fit the show around their schedules?
Yes, it sounds like a first world problem, and it truly is. Still, at the end of the day, it’s a business. If Netflix wants to keep viewers happy, they need to be pragmatic about the length of their programming. They’re already adding adverts and limiting account sharing, so it’s clear that they are in some financial trouble. It’s bad business optics.
It can also take the audience out. Take Ginny and Georgia. The length of time between the latest two series means that the actor playing one character had shot up, and is therefore unable to pass for the age he’s supposed to be in the show. The show runner has asked viewers to ‘suspend disbelief.’
The main reason for this is that TV execs are nervous about greenlighting new shows or ordering a second series until it proves that it will be a huge success. This means that by the time it’s been greenlit, the delay is only longer. Streaming providers and channels are also more ruthless in cutting TV shows that don’t bring in the big bucks, yet they do nothing to promote said shows. You’ll find any number of shows that people are begging to be renewed or brought back.
Luckily, not all shows require us to wait years. Apple’s criminally brilliant Slow Horses will see five series within three and a half years, even with superstar actor Gary Oldman involved. HBO Max’s superb medical drama The Pitt debuted in January, and its next series will premiere the same time the next year. Again, it’s a small scale show without mass CGI, but it’s still an impressive feat these days.
I’m still pressed that it’ll be four years between S1 and S2 of All Of Us Are Dead.
Problem Two: Scheduling
Now, this is more of a recent issue and tend to involve a certain streaming platform (Netflix). Concerned that people are going to watch their favourite show in one go and then cancel, they’ve decided to split new releases up into parts.
Their schedule for Stranger Things has annoyed viewers who are already upset by how long the wait has been. Four episodes of S5 will be released on the 26th November 2025, three on Christmas Day 2025 and the grand finale on New Year’s Eve 2025.
Another idea is to release a handful of episodes to get you hooked, then release them weekly.
In the day of streaming, we expect to binge it all in one go or follow the traditional route of one episode a week. What’s wrong with that? No, streaming shows must make their money and therefore put out strange schedules.
Problem Three: Shorter Episodes
Another problem with prestige TV, at least recently, is that there tends to be fewer episodes than your average mainstream network show. Now, I don’t expect twenty-two episodes of expensive television, but shorter episode counts present a problem in that it impacts storytelling.
Take example one: Bridgerton. S3 was criticised for packing in too many storylines (spoiler alert)- Colin and Penelope’s relationship, Francesca’s debut and new match, the Mondrich family’s sudden wealth, Eloise and Cressida’s friendship, finding Lady Whistledown, Anthony and Kate as newlyweds and the Featherington girls’ marriages. Now, only two of these plot lines happened in the book. The showrunner pushed each of these stories into eight episodes, which didn’t give Colin and Penelope as much a chance to shine as earlier couples Simon and Daphne and Anthony and Kate (and George and Charlotte) did. S3 was received slightly less well for other reasons, including a character swap that was rather controversial (I’m still a bit mad about that honestly), but many did believe it was overstuffed.
The second example is Doctor Who. Now, until extremely recently, Doctor Who was not considered prestige television. It was a cult show and even following its relaunch in 2005, it’s been fairly low budget. In 2022, the BBC struck a deal with Disney. Disney would receive the international distribution rights in return for giving the beloved sci-fi series more funding. The BBC would still be the creators and owners though.
Now, since the purchase, Doctor Who has changed. A more streaming service like model has come with the increased funding. The newer series that came with 15th Doctor Ncuti Gatwa saw eight episodes a pop, compared to the traditional ten to thirteen fans are used to. With fewer episodes, it’s much harder to play out a story arc. Companions aren’t given enough time to be fleshed out. As with Bridgerton, more is crammed into less time. The newest series was criticised for having an interesting new companion in Belinda, yet barely giving her any time to have a proper story.
Now, Doctor Who has more problems than fewer episodes than usual. The most recent ending received mixed reactions, there’s said to be an over reliance on nostalgia and many perceive the show to have become overly liberal and preachy. Rumours have spread that Disney wants Russell T. Davies fired. Ratings have significantly dropped. People want fresh blood or a few years of cancellation.
That being said, it’s believed that the next series won’t come until 2027, meaning a two year gap for around eight episodes again. Doctor Who is suffering, and the new prestige TV factor isn’t helping.
What’s Next?
We’re still going to have great TV shows in the future and we’re still going to watch the ones we’re given. That being said, producers and executives are going to have to shake things up if they still want viewers tuning in. With the obsession with viewing numbers a factor in what is made, viewers are going to be able to vote with their remotes (and their wallets). We can also see how unhappy fans can kill a vibe- just look at how Game of Thrones disappeared from our minds after a controversial final series and poorly received finale.
Producers, take note. The ball is in your court.
There’s a complaint about The Simpsons that goes like this:
The first 10 seasons were written by people who enjoyed all kinds of weird and niche entertainment.
The last 10 seasons were written by people who grew up watching The Simpsons.
In the same way, the early “Prestige TV” was written by people who wanted to tell a particular story. I mean, remember when The Sopranos came out? 1999. That very same year, the movie “Analyze This” came out.
Two separate people were both struck by lightning and needed to tell the story about a mob boss who needed therapy.
Now? We’ve got people who want to make The Next Sopranos.
Of freakin’ *COURSE* they’re going to fail.
Sarah hits on something here I’ve seen in my own household. My kids, who are now all adults, have lost interest when a show or series takes too long to come out, just because 15 year old kid is extremely different at 18. That’s only three years and not that much in entertainment development time, but in developmental and personality changes, that’s an eternity.
I think your definition of “prestige TV” is way too expansive. Stranger Things may be on Netflix but it’s not anything to be taken seriously. Downton Abbey was a telenovela with British accents. Bridgerton?
When I hear “prestige tv” I think not only a cinematic production, but content that possesses a certain level of gravitas.
As asked the Google for the Top Ten Prestige Television Shows and it told me:
1. The Sopranos (1999-2007): Frequently credited with launching the “prestige TV” era, this show redefined the anti-hero and explored complex themes of family, crime, and morality.
2. The Wire (2002-2008): Praised for its realism and social commentary, The Wire offers a nuanced portrayal of Baltimore’s drug trade, law enforcement, and political landscape.
3. Breaking Bad (2008-2013): A character study of a high school chemistry teacher who turns to a life of crime, Breaking Bad is known for its suspenseful plot and compelling performances.
4. Mad Men (2007-2015): This stylish drama, set in the 1960s advertising world, delves into themes of identity, ambition, and the changing social landscape.
5. Game of Thrones (2011-2019): This epic fantasy series captivated audiences with its intricate plot, complex characters, and high-stakes drama.
6. The Americans (2013-2018): A Cold War-era spy drama, The Americans explores themes of love, family, and espionage through the eyes of two KGB spies living undercover in the US.
7. Fargo (2014-present): Inspired by the Coen brothers’ film, this anthology series features dark humor, quirky characters, and compelling crime stories in each season.
8. Stranger Things (2016-present): This sci-fi horror series blends nostalgia with supernatural elements, creating a unique and engaging viewing experience.
9. Succession (2018-2023): A darkly comedic drama about a wealthy media mogul family, Succession explores themes of power, family dynamics, and corporate greed.
10. Chernobyl (2019): This historical drama offers a harrowing account of the 1986 nuclear disaster, emphasizing the human cost of political decisions.
Fans of Deadwood are gonna be angry at this list.
Tell them “maybe Google’s definition of ‘prestige’ is ‘more than two seasons’.”
Deadwood season 3 had 12 episodes.
See Chernobyl doesn’t fit it’s one season on purpose so more like special event or expanded mini-series
If I were trying to define “Prestige Television”, I’d probably ask for an example of Ten (or Twenty) Shows that we agree qualify and then see what they all have in common.
Thinking about it, here are some things that seem to qualify for me:
1. Adult Themes. Not just “humping” (though nudity is always welcome), but stuff like power dynamics, insecurity, mortality, fidelity and infidelity, existentialism, and, perhaps the big one, TRADEOFFS. Nobody likes tradeoffs.
2. Continuity. By this I mean the show actively rewards you for watching the previous shows. If Bob punched in the face last week, he has a black eye this week. Two seasons from now, we see him be hostile to the guy who punched him. People who have that episode as their first episode might ask “why is Bob so hostile?” and people who have been watching immediately sit up and say “IT’S PUNCHY GUY!” when he shows up again and nod solemnly when Bob is hostile.
You don’t need to have a “Previously on Roseanne” segment at the beginning of the show to drop 2 or 3 plot points from last week, last season, or last time we saw this particular antagonist, but a refresher will help this week’s episode hit harder.
Our characters get cut. Therefore our characters will have scars.
3. Stakes. Supporting cast members might die. And not just the whole “we’re all going to die” kinda “might die”. But we have seen 3 or 4 characters die! We don’t know who has plot armor and who doesn’t! From what I understand, the death of Ned Stark was shocking but the death of Robb had people’s jaws on the floor (well, those who hadn’t read the books, anyway). This was supposed to be a story about Ned Stark saving Westeros but he died! And then it was supposed to be a story about Robb avenging his father and then saving Westeros and then he died! WHAT THE HELL IS GOING ON
Those are the big three, I think.
We could probably put something in there about “production values” or “writing quality” or whatever… but I’d say that those three things are the common threads.
Until Prestige Television, you could be in Cleveland (friggin’ Cleveland) for the big presentation and sitting in your hotel room and turn on the television and, oh good, it’s an episode of Whatever and it doesn’t matter what season it is. We’ll hit all of the marks.
Handsome Character will be handsome.
Sexy Character will sport some downright amazing tights. How can she walk effortlessly in 4 inch heels?
Funny Character will say something insightful then funny.
Nothing changes. It doesn’t matter what season it is.
Every show is Seinfeld.
Sometimes an actor would leave and that’d be a change and sometimes an actor would die and that’d be a change but, for the most part, you could turn on your television set in a Cleveland Marriott and watch an episode and it didn’t matter what season it was.
Was it X-Files that changed things? When we flipped from Monster of the Week to stuff like The Black Oil storyline? Earlier than that?
It was Hill Street Blues that changed television. Hill Steet Blues made arcs a thing.
People changed, they improved, or got worse. Heroes were flawed people. Sometimes rules were bent for the greater good. Sometimes there were no good options. And like the Red Queen, they had to run like crazy just to be able to stay in the same place.
There had never been anything like Hill Street Blues in US TV before.
Maybe so, but very few shows after Hill Street Blues did arcs. Practically all I remember of 1980’s TV was sitcoms, and ones that stayed stable. Full House, that Dinosaur Show, Perfect Strangers, Family Matters… the whole lineup.
I remember it being a Big Deal for American TV that 24 was a single story told through the whole season, versus “arcs”
Huh… you can get the box set for around $40…
The earliest example of story arc I can think of is Babylon 5.
Hill Street Blues started airing in January 1981; Babylon 5 in February 1993, 12 years later;
By the time 24 arrived , in November 2001 it had been 20 years since Hill Street Blues. Hey, 24 was barely three years before Lost.
Similar to Band of Brothers.
Stranger Things was an extremely derivative sci-fi show aimed at kids. Parents watched it because of the gratuitous use of 1980s nostalgia porn. I say “was” because I only made through about 4 1/2 episodes of the first season – and only made it that far because of my devotion to our dear Wynona. Perhaps it evolved into something else, but I’ll have to take others word for it.
But to put it in the same category of shows like Ozark, Severance, Twin Peaks: The Return, Six Feet Under, True Detective (basically every drama made by HBO from 2000-2015) – seems a bit absurd to me.
From what I understand, the original pitch for Stranger Things was a bunch of clips from a half dozen movies. E.T., Jaws, Stand By Me, Firestarter.
The show attempted to capture a feeling as much as tell a story. Nostalgia was a spice. Now, they dumped it on! It was Indian food, not British Cuisine. But it was about the story underneath the nostalgia. (Hey, if you want to tell a story that won’t be screwed up by smart phones, have it be set in the 80s. Only doctors, lawyers, and high-powered bankers had pagers.)
The scene with the Christmas lights? That was a freakin’ awesome scene.
Do *I* consider it “Prestige”? Well… kinda? They establish a mood, they establish stakes, they tell a story, it’s a story that isn’t stupid and rewards paying attention.
I’m not sure I’d put it in the same tier as, say, The Sopranos (or the previously mentioned Deadwood) but it was a smart middlebrow show that gave fanservice with the spices but told a decent story with the meat.
I didn’t make it past the first episode of Season 4. I was really looking forward to it, too. Vecna! But… I dunno. Seasons 1 and 2 were good. Season 3 was okay.
Season 5? I might read a recap on the Wiki.
One way we can know it’s prestige TV is if the final season is much worse than earlier ones and pisses the die hard fans off.
This is a good joke so I want to make that clear.
Okay.
How many shows is this true for? The Sopranos and Game of Thrones? Oh, The Wire.
But, from what I understand, Breaking Bad, Mad Men, The Americans, and Succession ended really strong.
Again, it’s a good joke.
Is Fringe prestige TV? I assume not, because it was a network show, but I think it has pretty much all of the elements, and was critically acclaimed when it aired. And man, that last season was a rather large swing and a miss.
Did people dislike the last season of Battlestar Galactica? I vaguely remember that being a thing, but I could be wrong.
Oh, and True Blood? Dexter? I haven’t watched it, but I think the last season of Killing Eve was a big disappointment for fans.
Westworld got cancelled, so they rushed the last season, and it was really bad.
Oh, oh, Veronica Mars.
Heroes! Lost!
(Sorry, I’m going through a list of prestige TV shows and remembering the final seasons.)
Hrm. There might be a couple more notes, then.
The whole “adult themes” thing may need to be bolstered with “the show takes its subject seriously. There may be comic moments but the comic moments stand on serious bedrock. Sure, it may be a show about superheroes or clinically insane scienticians using off-label physics to fight evil scienticians from a mirror universe but that’s all taken very, very, *VERY* seriously.”
As for the second thing… I dunno how to phrase it.
You’ve got the whole “this is building up to something huge” feeling from the first couple of seasons mixed in with the whole problem where they have to actually tell us what the smoke monster is in the last season and they don’t have a good answer.
The build-up was so good! It felt like it was a good mystery! And the final payoff couldn’t pay off.
Person of Interest. Now *THAT* show paid off.
I think the formula you describe shows why it’s so easy for the final season to be a failure, too: if part of what makes your show entertaining and emotionally salient is that it feels like it’s building to something big, in order for the final season work, you have to provide viewers with the something big towards which the previous seasons felt like they’re building, and it’s much easier to build to something big than to provide it.
I feel like “Prestige TV”, as a distinction, stopped meaning anything when they started letting broadcast TV have swear words in.